Kay Morrissey Thompson - The Art and Technique of Sumi-E Japanese Ink Painting: Japanese Ink Painting as Taught by Ukao Uchiyama

animals

Each living creature has at least one characteristic peculiarly its own and it is in suggesting this quality that a sumi painting becomes more than an anatomical rendition. Careful observation and many pencil sketches are behind the finished painting which appears simply done with a few telling strokes.

The lumpy mass of the frog is painted with a large soft brush combining chuboku and noboku. With a smaller hard brush and noboku only, the under part of the body is sketchily outlined, leaving white areas to complement the dark mass. Legs are a few quick strokes of the brush which suggest the frog's action.

The impressive dignity of the emperor penguin and the lumbering hulk of the elephant are caught in succinct statements of the sumi brush. It is best that general rules be followed here, since so much depends on the type of animal and the imagination and accomplishment of the individual artist.

The eye, which is the focal point of personality, is usually the first touch of the brush. Visualizing the subject in full on the paper, indicate the main contour of the head in one or two mokkotsu strokes. This should establish the stance of the creature, after which the essential sweeping line of the body, usually the back line, can be expressed in the fewest strokes necessary. The animal itself will suggest whether these strokes be sembyo or mokkotsu. The elephant, with its area of mass, is best portrayed with the broad side-strokes of mokkotsu, while the penguin's protruding white chest suggests a linear outline. Any details, such as feet, wings, or ears, and any textural qualities will also suggest their own manner of interpretation. It is the intent of the sumi artist to capture the impression of the body, simplified through the brush to its essentials of line and mass.

birds: the sparrow

The little brown sparrow adds a bit of animation to many an Oriental painting. Huddled on a snowy pine branch or content among the bamboo, it contributes to seasonal atmosphere by adding warmth and life. Since in sumi painting we wish mainly to catch the bird's animated spirit, we do not paint it in great detail, but knowing its construction through observation, we attempt to indicate the quick movements of the little body through the strokes of the brush.

Start with a small, soft brush dipped on alternate sides in the middle and the darkest tones with perhaps a touch of brown. With two wash strokes, side by side, paint the top of the bird's head. Change to a small hard brush dipped in noboku and with two sembyo strokes paint the beak to establish the tilt of the bird's head. While the eyes are two quick daubs of the brush, their intentional irregularities serve to give the bird its spirit and personality and add to the quick, fleeting appearance.

After establishing the position of the head, the twist of the body is determined first of all by the placement and the direction of the chest bone. The small hard brush is loaded with middle and dark tones of sumi. The chest bone is one pressure stroke of the dark side of the brush, followed on either side, with broad strokes directed away from the chest bone. Each of these strokes will differ in size depending on the angle of the bird's body. Building from this, with a soft brush and chuboku and tamboku, paint the soft feathers covering the body in upward strokes which taper towards the tail. Tips of the body feathers are accented with touches of noboku.

The tail feathers are composed of two strong downward strokes, essentially straight and close together yet separated by a bit of white. This is a difficult skill requiring practiced control of the brush.

When painting the delicate feet of a little bird such as the sparrow, bear in mind that, unlike larger birds and fowl who walk and swim, these are hopping birds, and the little claws are close together and appear fragile. They need not be painted in great detail, but quite freely sketched in after their position has been decided upon.

It will be evident to the artist that putting all these strokes together will require not only some structural knowledge of the bird, but also a familiarity with its motions and habits. Store up mental pictures continually when observing birdsthe tilt of the head, the position of the feet and wings in flight. The fleeting motions of birds are truly compatible with ink painting.

in conclusion

All the preceding illustrations were made for instruction purposes and hence, even when labeled finished paintings, tend toward the less technically complex. On these two pages are presented reproductions of seven of Mr. Uchiyama's fully conceived exhibition pieces; those on the opposite page were included in the Uchiyama exhibit at the Hiratsuka Nippon Gallery, Washington, D.C., in the summer of 1960. Besides setting a goal toward which the sumi-e student should aspire, they reveal the inspired utterance of which sumi-e, with its sparse vocabulary, is capable, and they prove once again that this great and ancient art is still vital and fresh.

"Persimmons and Chickens." 1958 Sumi on paper. Scale: about 1:11.5

"Sweet Peas." 1958 Sumi on paper. Scale: about 1:1 1.5

"The Eastern Shores of Izu." 1959 Sumi on paper. Scale: about 1:6.5

"Shimoda Port." 1959 Sumi on paper. Scale: about 1:6.5

"Sparrows." 1959 Sumi on paper Scale: about 1:6.5

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Published by Tuttle Publishing, an imprint of Periplus Editions (HK) Ltd., with editorial offices at 364 Innovation Drive, North Clarendon, Vermont 05759 USA and 61 Tai Seng Avenue #02-12, Singapore 534167.

1994 Charles E. Tuttle Publishing Co., Inc.